Blue Skies (film) - Soundtrack and Dance Routines

Soundtrack and Dance Routines

Crosby applies his famous relaxed crooning style to the many songs he delivers here. In contrast, Astaire, assisted by choreographers Hermes Pan and Dave Robel (for the "Puttin' On The Ritz" routine), delivers a series of dances which explore the theme of confrontation, both with partners and with the audience. As a result, it is one of only a few Astaire films not to feature a romantic partnered dance.

• "A Pretty Girl Is Like A Melody": Berlin's 1919 song is presented as part of a big Ziegfeld Follies production number, an aesthetic which Astaire parodies in this partnered dance with Caulfield and others. In the first of a series of references to films he made earlier in the 1940s, he reprises a tap sequence performed atop a bar counter in the "One for My Baby" number from The Sky's the Limit (1943), this time danced down a stairway.

• "I've Got My Captain Working For Me Now": This song, composed in 1919, is performed by Crosby, backed up by Billy De Wolfe.

• "You'd Be Surprised": Another 1919 song, this time performed by Olga San Juan.

• "All by Myself": Crosby performs this 1921 song to Caulfield, who harmonizes with him in the closing phrases.

• "Serenade To An Old-Fashioned Girl": Caulfield sings this number, specially written for the film.

• "I'll See You In Cuba": A 1920 song performed as a duet by Crosby and San Juan.

• "A Couple Of Song And Dance Men": A comic song and dance duet for Astaire and Crosby to a number specially composed for the film. The concept is a reworking of the "I'll Capture Your Heart" number from Holiday Inn (1942) and the comedy centres around Crosby's legendary reluctance to rehearse.

• "Puttin' on the Ritz": Although Berlin's 1930 song was originally written for vaudevillian Harry Richman, it has become indelibly associated with Astaire, who also recorded it for Columbia in 1930. In this tap solo with cane, which was widely billed as "Astaire's last dance", the lyrics are updated, replacing racist references to ritzy Harlemites with wealthy whites strutting their stuff up and down Park Avenue. The routine was produced after the rest of the film had been completed, and according to Astaire, it took "five weeks of back-breaking physical work" to prepare. It is constructed in three sections, beginning in a dull book-lined office with a tired-looking Astaire showing his years and dressed in a morning suit. Here Astaire delivers the song while executing a gentle tap and cane solo in mock slow-motion, in an amusing parody of his impending retirement. The song finished, he returns to normal speed and proceeds to dance around the office while executing an ingenious jumping cane routine which relied on a concealed floor trigger mechanism.Thus rejuvenated, Astaire sweeps aside a pair of drab curtains to reveal a chorus of nine Fred Astaires - achieved by filming two separate versions of Astaire, repeating them four times and interleaving them. The final section is a greatly speeded up repeat of the tune which accompanies a complex routine for Astaire and chorus. In "Top Hat, White Tie and Tails" from Top Hat (1935), Astaire proceeded to machine-gun his chorus dancers with his cane. This time, Astaire joins his chorus in adopting a confrontational, at times almost menacing posture towards his audience. In 1957, on the brink of yet another temporary retirement, Astaire wittily refers back to this routine in the self-parodying "The Ritz, Roll And Rock" number from Silk Stockings.

• "You Keep Coming Back Like a Song": Crosby performs this specially composed number.

• "Blue Skies": Crosby sings this 1926 ballad, the film's title song, to Caulfield.

• "Nightclub Montage": Crosby performs fragments of "The Little Things In Life" (1930), "Not For All The Rice In China" (1933) and "Russian Lullaby" (1927).

• "Everybody Step": Crosby sings this 1921 number, followed by a brief dance for chorus choreographed by Hermes Pan. Crosby directs the chorus in the opening stages, a concept revived and further developed by Pan for the opening number of An Evening with Fred Astaire (1958).

• "How Deep Is The Ocean?": Crosby performs this 1932 song in a musing style, backed by a female quartet.

• "(Running Around In Circles) Getting Nowhere": Crosby sings this specially composed song to his daughter, played by Karolyn Grimes.

• "Heat Wave": The film's major production number features Astaire, Olga San Juan and chorus in a brightly coloured Latin-themed setting. It begins with San Juan's rendition - with the lyric "making her seat wave" toned down to "making her feet wave" - of this 1933 song, while Astaire approaches warily, using dance steps reminiscent of those used in the "Dream Ballet" number from Yolanda and the Thief (1945), followed by a partnered dance for Astaire and San Juan, and then a tap solo section for Astaire who quotes from the "Boogie Barcarolle (Rehearsal Sequence)" number from You'll Never Get Rich (1941). This solo section was shot in one take and features music specially composed by Astaire, the only time his music was used in a film. In a counterpoint to the film's opening number, this number ends with him ascending a staircase, only to fall dramatically from a precipice, ending his character's dance career.

• "Wartime Medley": Crosby performs excerpts from "Any Bonds Today" (1941), "This Is The Army Mr. Jones" (1942) and "White Christmas" (1942) - which he had introduced in his previous film with Astaire: Holiday Inn (1942).

• "You Keep Coming Back Like A Song/Blue Skies (reprise)": Performed by Crosby and Caulfield at the film's close.

The other Berlin songs which featured only as background music in the film are, in order of use: "Tell Me Little Gypsy" (1920), "Nobody Knows" (1920), "Mandy " (1918), "I Wonder" (1919), "Some Sunny Day" (1922), "When You Walked Out Someone Else Walked In" (1923), "Because I Love You" (1926), "Homesick" (1922), "How Many Times" (1926), "The Song Is Ended" (1927), "Lazy" (1924), "Always" (1925) and "I Can't Remember" (1933).